By Robert Walton
During the 1990s while living in Bath, my wife and I regularly attended the winter series of symphony concerts at the Colston Hall in Bristol. We always sat in the same seats in the choir stalls behind the orchestra facing the conductor. To all intents and purposes we were part of the percussion. In fact a certain timpanist was constantly tuning up. We were so close we could follow the music on his stand. We saw many of the world’s famous orchestras and conductors. Some Russian and East European orchestras were clearly struggling financially because their music was obviously well worn, not to mention their threadbare dinner jackets, but it didn’t affect their performances in the slightest.
And talking of Russian music, a member of the audience who sat right up at the back behind us looked the image of Tchaikovsky! And he never missed a concert but I’m sure he had no idea he looked like the great composer.
Which brings me to the noted popular 20th century composer-arranger-conductor from Webster Groves, Missouri, Gordon Jenkins who certainly didn’t look like him. His music though clearly caught the essence of Tchaikovsky. Jenkins’ detractors often unkindly placed his name at the top of the schmaltz lists. He might have been a 20th century clone of Tchaikovsky but cleverly incorporated the Russian’s style into his own compositions and orchestrations in his own individual way. In fact he could be said to have kept romance alive and well.
Jenkins’ Green from “Tone Poems of Colour” conducted by Frank Sinatra was inspired by a poem of Norman Sickel, a one-time radio scriptwriter for Sinatra. This 1956 recording session with a symphonic- sized orchestra celebrated the opening of Capitol’s new pancake-shaped skyscraper in Los Angeles known as Capitol Records Tower.
At the opening and closing of this tone poem, some Jenkins one-finger piano was required, but the man himself wasn’t available. So Sinatra’s pianist Bill Miller brilliantly simulated Jenkins’ so-called hunt-and-peck piano style (like a hen searching for food, the finger creeps along the keyboard ready to ‘pounce’ on the next note). When sad strings enter I dare you not to be moved. This is followed by the heavenly oboe and flute. You may hardly notice the French horn playing a legato counter-melody but without its contribution it would seem incomplete.
When the strings get even more aroused, the emotion generated is conspicuously overwhelming by its presence. So moving in fact, it’s beyond words and tears! This is what music is all about. We have been elevated to a higher plain in much the same way as Tchaikovsky’s 6th Symphony does.In fact Green could be described as that work in miniature. The horn continues to decorate, adding its own special hue to the mix. The essential Jenkins has now come to life with this sublime songlike strain. I know Pyotr Ilyich would have approved. Listen out for a bit of Borodin (Stranger in Paradise)in slow motion borrowed from ”Prince Igor’s” Polovtsian Dances.
And with a definite pause, the second part of the melody doesn’t disappoint, continuing its dramatic journey downhill played by unison violins at the bottom of their range. We assume the orchestra is preparing itself for a big ending. “But no!” as Danny Kaye might have insisted. After numerous comings and goings with the said woodwind, strings and horn, stand by for two more thrilling string flourishes. The horn and flute finally bring Green to a gloriously peaceful close. But not quite. Bill Miller’s single note piano has the last say but not in its normal middle register. This time it’s uncharacteristically higher than usual.
If you’ve never heard any Tchaikovsky or indeed the 6th Symphony (ThePathétique) I can’t recommend Green highly enough as the perfect Tchaikovsky taster. If you like this, you’ll adore the real thing!
Green, originally from “Tone Poems of Colour”
Capitol (CDP 7 99647 2)
Also on “Scenic Grandeur” from Guild’s Golden Age of Light Music (GLCD 5145)
Although I own a copy of the album of which this selection forms a part, I have not listened to it in years, and had to refresh my recollections, especially with this particular selection, as I have retained it in my memory somewhat less well than I have some of the others in the album.
That said, I must say that I was for a while quite hesitant in how I would comment on what I have read in Bob Walton's article. With all due respect to him, I must say that we appear to be poles apart in much of what I'm reading - whether it concerns impressions of the piece, method of analysis, or even regarding the experience of sitting in the back of an orchestra while attempting to take in what is being offered.
Each and every one of us, of course is entitled to his/her own personal viewpoint and approach to how a piece of music is received, and I do not wish to in any manner or form cast any aspersions - far from it. I am only attempting to state that my personal approach to a piece of music, its reception, or the type of analysis I would attempt is so utterly and completely different from what Bob has outlined here that I simply cannot share or corroborate much of what I'm reading in this article.
I would be more than pleased to go into specifics if requested, and feel that it would lead to a very healthy debate, provided that all viewpoints are recognized as being equally valid. If such debate were indeed to occur, it should be done in the most civil and courteous manner.
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